711 - 720 of 952 results for:
all courses

MUSIC 118:Musics and Appropriation Throughout the World (AFRICAAM 218, CSRE 118D)

This course critically examines musical practices and appropriation through the amplification of intersectionality. We consider musics globally through recourse to ethnomusicological literature and critical race theories. Our approach begins from an understanding that the social and political contexts where musics are created, disseminated, and consumed inform disparate interpretations and meanings of music, as well as its sounds. Our goal is to shape our ears to hear the effects of slavery, colonialism, capitalism, nationalism, class, gender difference, militarism, and activism. We interrogate the process of appropriating musics throughout the world by making the power structures that shape privileges and exclusions audible.

Last offered: Autumn 2018
| UG Reqs: WAY-A-II, WAY-ED

MUSIC 122A:Counterpoint

Analysis and composition of contrapuntal styles from the Renaissance and Baroque periods. Use of keyboard, ear training, and sight singing underlies all written work. Prerequisites:
MUSIC 23 and
MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.

MUSIC 122B:Analysis of Tonal Music

Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches. Prerequisites:
MUSIC 23 and
MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.

MUSIC 133:Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 166, FRENCH 266, FRENCH 366, MUSIC 333)

Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to
DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course must email the professor (jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.

MUSIC 141J:Studies in Music of the Renaissance (MUSIC 241J)

MUSIC 142K:Studies in Music of the Baroque: Handel the Cosmopolitan (MUSIC 242K)

Music history seminar on the operatic, sacred, and instrumental works of G.F. Handel as examples of the diversity, cosmopolitanism, expression, formal and technical features, and social uses of music in the first half of eighteenth century. Traces Handel¿s career from his native Germany to an elite Roman circle of musical connoisseurs, and to the Italian opera company he founded in London and his transformation of Italian opera into a new genre of English oratorio. By analyzing Handel¿s works in context, we examine the aesthetic, harmonic, and dramatic principles of the major European Baroque art-music genres. Prerequisites:
MUSIC 22,
MUSIC 41. (WIM at 4-unit level only.)

Last offered: Spring 2019
| UG Reqs: WAY-A-II

MUSIC 143J:Studies in Music of the Classical Period: Franz Joseph Haydn (MUSIC 243J)

Music and Musicians in the Age of EnlightenmentnPrerequisites:
MUSIC 22,
MUSIC 41. (WIM at 4-unit level only.)

MUSIC 144M:Robert Schumann and the Interpretation of Musical Romanticism (MUSIC 244M)

The creative personality, compositions, and writings of Robert Schumann (1810-1856) as exemplars of musical Romanticism in early nineteenth century European culture. Musical "interpretation" explored through a writing focus and a performance focus. Weekly writing assignments interpret compositions as texts, performances, and cultural documents. Students study and interpret up to three works (solo piano, chamber music, art-songs) by Schumann and/or contemporary figures (Schubert, Mendelssohn, Chopin, Brahms, Clara Schumann) for in-class presentation and final lecture-recital. Prerequisites:
Music 42, and
Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice. (WIM at 4-unit level only.)

This course identifies and considers new keywords for the study of contemporary African music and sound. Each week we will foster discussion around a keyword and a constellation of case studies. The sonic practices we will encounter range from South African house music to Ghanaian honk horns; from Congolese rumba bands to Tunisian trance singers; from listening to the radio in a Tanzanian homestead to making hip hop music videos on the Kenyan coast. By exploring the unexpected interconnections between contemporary African musical communities, we will discuss new keywords arising in current scholarship, including technologies like the amplifier and the hard drive, spaces like the studio and the city, and analytics like pleasure and hotness. We will also engage with established concepts for the study of postcolonial African cultures, including nationalism, cosmopolitanism, globalization, diaspora, and Pan-Africanism. This is a seminar-based course open to graduate students, upper level undergraduate students, and other students with consent of the instructor. Proficiency in music is not required. WIM at 4 units only.

Last offered: Winter 2019
| UG Reqs: WAY-A-II

MUSIC 146N:Transcultural Perspectives of South-East Asian Music and Arts (FRENCH 260A, MUSIC 246N)

This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ng¿c, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To be eligible for WAYS credit, this course must be taken for 3 units and a letter grade; WIM credit in Music at 4 units and a letter grade.